A quick note about the Academy of Arts and Sciences. Currently there are 5,765 members of the Academy. My brother tells me he's been told the average age of the membership is 61.
According to a February 25th article in the Los Angeles TimesIn the last few years, there has been an uptick in the number of women and minorities earning spots among the 5,765 voting members of the Academy. Nevertheless, based on The Times' study, which confirmed the identities of 5,112 members, the Academy today is almost 94% white and 77% male. Last year, according to Academy officials, of the 178 people accepted for membership, only 30% were women and 10% were nonwhite.
Kind of ridiculous that this small skewed body of people have so much power, in this day and age! In the Times article, the Academy claims they are trying to change things but it's difficult since the industry itself is so weighted.
The article goes on to say Today, a certain number of work credits as well as sponsorship by two current members, an endorsement of a branch committee or an Oscar nomination are necessary before an applicant is even considered. Membership is for life.
I would love to see someone like a Meryl Streep use her personal and industry power to campaign for change. I think it would be great to see a wider range of films receiving some notice. The Academy publicity is a huge generator of ticket sales, and ticket sales are what counts when it comes to filmmaking success.
On the other hand, there are some great things the Academy does for the industry, most notably in its film archive and library. And I for one am excited about the prospect of the movie museum they're planning on creating here in Los Angeles in partnership with LACMA. You may have read recently that Leo DiCaprio and Steven Spielberg spearheaded a group of buyers who purchased the ruby slippers from Wizard of Oz for this same museum? You've gotta love that!
They also have a terrific website where you can find out about upcoming events and visit one of my favorite sections Read the Book, See the Movie which is just one among many.

UPDATE: February 28, 2012
The movie Being Flynn comes out in just four theatres this Friday! Two here in L.A., the Arc Light on Sunset (the former Cinerama Dome) and the Landmark on Pico plus two in New York, AMC's Lincoln Square 12 and the Landmark Sunshine Cinema 5 on Houston.
I seriously hope it gets out to a wider swathe of the country! The film is based on Flynn's memoir Another Bullshit Night In Suck City but the book is now being re-released as Being Flynn. Visit the Focus Films site to get on their list; hopefully, you'll get notified when the movie will be playing in your town or a town near you!

Being Flynn film stars Paul Dano - who was spectacular in Little Miss Sunshine and There Will Be Blood - as a young writer seeking to define himself. He misses his late mother (Julianne Moore) and eventually comes face-to-face with his long-estranged father (Robert De Niro), a self-proclaimed master storyteller who is facing eviction from his apartment. The San Francisco Chronicle called the book a "stunningly beautiful memoir"; Paul Weitz wrote and directed the film. You might want to check out Nick Flynn's very informative AND groovy website here. Tons of interviews, and pictures and a pretty cool layout.

Now that my big night at the Oscars is over it's time to get back to basics. Deadline is back to business and I've been reading about a lot of upcoming projects that could be pretty cool. One of those is The Osterman Weekend based on the Robert Ludlum book. It's the second time around for this one; the first time was Sam Peckinpah's 1983 version. The original starred Rutger Hauer, John Hurt, Craig T. Nelson, Dennis Hopper, and Burt Lancaster among others. Hmm. Rutger Hauer.
The new script is by Simon Kinberg and Jesse Wigutow. Kinber is the writer behind Mr. & Mrs. Smith, x-Men: The Last Stand and Sherlock Holmes. According to FilmStalker in a 2010 article, Kinberg was originally- back in 2007 that is - going to direct as well but now it looks like the movie will finally get made and it's going to be Brian Kirk sitting in the director's chair. Kirk is chiefly a television director with credits that include Boardwalk Empire, Game of Thrones, Dexter, The Tudors, Great Expectations and the new series Luck which stars Dustin Hoffman. He's doing this one for LionsGate/Summit and Captivate so it looks like this one is intended for the big screen.
Deadline reports"The Osterman Weekend is classic Ludlum, mixing conspiracy, murder and a man on the run. On the eve of an annual weekend getaway with friends, John Tanner is visited by a reporter who tells him his friends aren’t who he thinks they are. When the reporter turns up dead, Tanner gets caught in downward spiral of doubt and paranoia and, ultimately, a desperate fight to stay alive long enough to figure out who he can trust and who’s out to kill him." So what do you think? Yet another remake of a 1980's movie. Is it necessary? I'm thinking Rutger Hauer and thinking yes. If he was in it, please yes! Then I took a peek looking for reviews of the original; I found some really rotten ones on Rotten Tomatoes - granted they were based on the dvd release vs the big screen.

Perhaps a gander at the original trailer will give us a clue? I'm right! I'm right! This movie could be amazing with the right cast especially in the principal role of John Tanner played here by Rutger Hauer. So, please cast anybody but Rutger Hauer and it will be a better movie than the original.
Heavens! I'm actually excited by this one and am starting to consider casting possiblities. It could be fun to bring Clooney, Damon, and Pitt together again. Add Ryan Gosling in the mix. Michael Fassbender too. Giametti and Philip Seymour Hoffman. I don't really care what parts these major players play, ha ha, I just think they would be amazing together! But how about Matt Damon for John Tanner? Any casting ideas?

Have you seen the short film that won the OSCAR for best animated short? I assume since you are here that you love both books and movies and I think you'll have to agree this 15 minute gem is absolutely charming. The film was co-directed by William Joyce and Brandon Oldenburg entirely in Louisiana at Moonbot Studios in Shreveport, Louisiana.
You can find out more at morrislessmore.com
Does it deserve its coveted OSCAR win?

I am excited and more than a little nervous about going to the Academy Awards tomorrow. After trying on '27 dresses' I've opted for a velvet tuxedo with some splashy sparkly jewelry to glam it up. My niece is a hairdresser and she's doing my hair and makeup tomorrow.
So I'm ready but I fear disappointment lurks. And it's all The Artist fault.
For the first time in years, I have seen all the nominees for Best Picture and from what everyone says The Artist is going to win the big prize. As much as I enjoyed this one, my heart belongs firmly to Hugo. I think The Artist is essentially a great gimmick movie, quite charming, but lacking in the heart soaring emotional response of Hugo . Films have come a long way since the days of black and white silent movies and for a good reason. We embrace the greater heights that films can reach when using all the tools in the toolkit. Scorsese looks back fondly at our cinematic roots yet still tells a strong story, all while mastering the tools of today whereas Michel Hazanavicius looks back with a wink, the story is cute, the dog is cute, the premise is cute. And I will applaud politely as it wins, but my heart will still belong to Hugo. With The Descendants close in 2nd place. Disapointment.

Dujardin: Isn't he smarmy?

Jean Dujardin is also a shoe in for Best Actor which is absurd. It's not the lack of language than I abhor, it's the lack of range, the lack of emotional connection. Brad Pitt, George Clooney or Gary Oldman should win. Period. But Jean has been adorable on SNL and winking all over tv this week and I suppose he'll be winking again tomorrow night. Pitt and Clooney will just shake their heads and move on because they're not just actors, they're movie stars. But I feel badly for Oldman; such an amazing actor who deserves the recognition.
Disappointment.

Martin Scorsese has been nominated 8 times, for Raging Bull, Last Tempation of Christ, Goodfellas, Age of Innocence, Gangs of New York, The Aviator, The Departed and now Hugo. He won for The Departed and deserves to win for Hugo. ANYONE who has actually seen the spectacular 3D film knows why and words simply can't explain it. I am so DISAPPOINTED that Scorsese, the genius, is going to lose to Hazanvicius! And I can't help but think that audiences think they are supposed to like The Artist - that it measures a certain level of sophistication that we all aspire to. I also wonder if the Academy really realized Hugo is not simply a childrens' movie based on a wonderful childrens' book by Brian Selznick. I wonder if they understand about Ben Kingsley's heartwrenching portrayal of George Melies??? Ah, too late for that kind of thinking now.

I don't mind who wins Best Actress. I was kind of hating on Meryl Streep until I realized she's always the bridesmaid but rarely the bride - she hasn't won since 1982!!! And was utterly (and typically) astonishing as Margaret Thatcher in The Iron Lady. I think she's going to win and probably should win but after much inner debate I really don't mind if its her, Viola Davis for The Help or Michele Williams for My Week with Marilyn. I do think it's an outrage that Tilda Swinton wasn't even nominated but that's another story.
And the supporting category seems to be all sewn up; no one is talking about anyone but Christopher Plummer for Beginners and Octavia Spencer for The Help. If either of them don't win then Hollywood will have something to talk about. Otherwise it's pretty anticlimactic.
Oh well, at least I won't be disappointed in the host! It's Billy Crystal the Academy Award host extraordinaire. Everyone is thrilled to have him back as he was always so brilliantly funny; I don't think anyone else has been quite as good as Crystal. His openings especially were masterpieces. On the other hand, think of the pressure. Crystal only came back, and reluctantly at that, because of the whole Brett Ratner snafu and Eddie Murphy departure. And it's one thing to skewer (while beautifully honoring) 5 best picture nominees - but how do you deal with NINE?!?!
Oh Billy, please be brilliant and funny and warm! I need someone to cheer me up while I watch The Artist sweep the major awards!

IF YOU DON'T REMEMBER THE GENIUS OF BILLY CRYSTAL AS HOST, CHECK OUT HIS INTRO NUMBER AT THE 2004 ACADEMY AWARDS. BREATHTAKING!

Thanks to Word and Film for going to the trouble of compiling a list that highlights one adaptation from each decade that the Oscars have been awarded! I commend you for your hard work and duly hereby credit you for same! Okay, now the legal, schmegal stuff is out of the way, check out the article, posted below.
And let me know what film you think should win for Screenplay Adaptation. You can vote in my little poll on the right of the site - The Descendants has just taken the lead or leave a comment in the comment section below.

MEET THE NOMINEES!
Here are the Academy Award Nominees for Best Screenplay Adaptation. I want to memorize their faces in case I see them at the bar. Isn't that where the writers hang out? Or is that just an old stereotype? And who knows, maybe a couple of the authors will be there? Probably not John LeCarre (Tinker Tailor Soldier Spy) but I wouldn't be surprised if Kaui Hart Hemmings, the first time novelist of The Descendants, was!

Peter Straughan

Tomas Alfredson

Tinker Tailor Soldier Spy was adapted for the screen by Peter Straughan and his now-deceased wife, Bridget O'Connor. Tomas Alfredson directed.
Will I see them at the bar?
And wouldn't it be great if John LeCarre was there? I have a feeling this picture on the left is the closest I'll come to seeing him!

WHAT WOULD YOU SAY TO THE WRITERS ?

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John Logan

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Brian Selznick

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Sam Mendes

John Logan wrote the screenplay for Hugo based on the book by Brian Selznick. He also wrote the screenplay for Rango which has been nominated for best animated film. Will Logan be hanging out with Martin Scorsese, the dirctor of Hugo or Gore Verbinski, (on the right) the director of Rango. There's always a chance he'll be ordering a martini, shaken not stirred, with Sam Mendes who is currently directing the new James Bond Skyfall film which Logan wrote the screenplay for.

Alexander Payne, the director of The Descendants, based on Kaui Hart Hemmings novel, hired the writing team of Jim Rash and Nat Paxon to adapt the book, then he gave their script a quick rewrite of his own.They have been all smiles in other award show photos. Will they be an unstoppable trio on Sunday? And will they invite Kaui Hart Hemmings to get in on the act?

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Grant Heslov

Needs No Caption!

﻿Will George Clooney who is nominated for his role as Matt King, in The Descendants, be chummy with Payne et al even though his movie,Ides of Marchis also in the running for Best Screenplay Adaptation? I will definitely be looking for HIM at the bar. George may be with his partner, Grant Heslov. Clooney and Heslov took a pass at the script and have screenwriting credit.
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Or he may be with Beau Willimon who originally wrote the screenplay based on his own play, Farragut North. Oh let's be real; he'll be with his blonde bombshell girlfriend, Stacy Keibler.

Zaillian, Chervin, Sorkin

Michael Lewis

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Or could it be the odd threesome who are credited with bringing Moneyball to the screen? Michael Lewis, the books' author didn't think it could be adapted for the screen. Stan Chervin is credited with the "story" - he wrote the first screenplay while Steve Zaillian and Aaron Sorkin both have Screenplay credit. From what I understand, Zaillian wrote a second draft, then Sorkin came in and rewrote that!

I'll also be looking for Moneyball director, Bennett Miller, and Best Actor Nominee for his role in Moneyball, Brad Pitt.

He and Clooney are great friends so maybe I'll see them at the bar together.

I don't suppose it makes much difference. I would be too intimidated and plain old star struck to say a word anyway. But if you were there, what would you say?

Has anyone read Adrift in Soho? Apparently it was written by Colin Wilson back in 1961 about the British beat scene. I just read about it on the Book Soup bookstore blog and am definitely intrigued.
This is what they had to say about it About three years before Swinging London hit the headlines, Colin Wilson of "Outsider" fame was writing about the down and out (and in) Soho. This was Wilson's second novel which reads like a memoir, and is a really beautiful snapshot of boho London before it was defined by the popular media of the time. For some life was very causal, and for the hardcore Soho citizen a way of life that totally ignore the mainstream view of life. Colin Wilson always struck me as a romantic, but in a very good way. And this is a very solid and a very quick read into the world of Soho, London and its citizens. And like any good book on London, the city becomes a character in the story. The edition I read is New London Editions and it promises to be an important press.
Digging around a bit, it appears that writer/director Pablo Behrens owns the screen rights and is trying to get financing and get a film made of the book. Boho London sounds like a fantastic background for a story. And I'm curious to follow its progress. There's a cast list up at the site, the most recent entry is this past December. You can check it out at Adrift in Soho film I see a part for Carey Mulligan already, the "emotional London actress, Myra, age 26". I would love to see her flex her muscles. Guess I should read this book first though...I predict I'll be driving into Hollywood soon!

Over the past week I've been focusing on the Best Adapted Screenplay category as we wend our way to the Academy Awards. I wasn't going to deal with Ides of March since it's based on a play rather than a book (hey, I've got my reasons for doing what I do) but, it being the only play of the five nominees and being directed by George Clooney and having such a fine cast, I figured what the heck. I don't think it stands a chance, by the way...it's got stiff competition from Moneyball, The Descendants and Tinker Tailor Soldier Spy. As much as I loved HUGO, I don't think it will win in this category either. My money is on Moneyball (but I guiltily confess I didn't read it) but honestly all these movies are so well written, so beautifully adapted, I will be satisfied if one of these three win. Even if I quibble about what they chopped off in The Descendants - that quirky housekeeper - or the changes they made to Tinker Tailor Soldier Spy - I missed the whole boys school business with Bill Roach and the foreign locales and the hit was altered too - they were all exceptional films. As much as I thoroughly enjoyed Ides of March, I just didn't feel it had the same dramatic impact as the others. That may just be because I am a sucker for movies that tug on my heartstrings and each and every one of the top films did that except for Ides of March. With that exception, they all put the cliche lump in my throat so they get my vote!
I found this great little interview that Rachel Martin did on NPR with Beau Willimon.
You can listen to it HERE at the NPR site or read the transcript below.

Beau Willon

In the lead-up to the Academy Awards, we've been talking with the contenders in a category that doesn't often get marquee attention: Best Adapted Screenplay. Three writers have been nominated for "The Ides of March": Grant Heslov, George Clooney and Beau Willimon. The movie is based on Willimon's stage play, called "Farragut North," which was inspired by his experiences working on several Senate and presidential campaigns.We caught up with Beau Willimon recently. He started off by describing the day he got a call that some guy named George Clooney wanted to make his play into a movie.BEAU WILLIMON: I was driving a car out in Long Island at the time and I got the call on my cell phone. And it was one of those Hollywood fairytale moments when my agent said to me, Warner Brothers would like to option the play to make into a movie. And how does that sound? And I think that's the point where I almost blacked out and drove the car into a ditch. But apparently, I said that sounds great, so let's do it. So, we obviously optioned the movie rights before we even had the production up on stage.MARTIN: We should say, for people who haven't seen "Ides of March" or who haven't seen your play, it does focus on a Democratic candidate.WILLIMON: That's right. Mike Morris is a governor and he's running for president, played by George Clooney. But at the center of the story is his press secretary, Stephen Myers, played by Ryan Gosling. And Ryan finds himself faced with a number of ethical choices, sort of tricky gray area that political operatives often find themselves in. And in his desire to win, has to decide whether to go down the moral fork in the road or the more self-serving and ambitious and hubristic side.(SOUNDBITE OF "IDES OF MARCH")GEORGE CLOONEY: (as Governor Mike Morris) You OK?RYAN GOSLING: (as Stephen Meyers) We're going to be fine. We have to do it, the right thing to do, nothing bad happens when you're doing the right thing.CLOONEY: (as Governor Mike Morris) Is this your personal theory 'cause I can shoot holes in it?GOSLING: (as Stephen Meyers) Well, there's exceptions to every rule.MARTIN: Where is your starting point in the process of writing the screenplay?WILLIMON: I saw the movie is an opportunity to reinvestigate these characters, to add new characters, to broaden the scope of the story. We also had the opportunity to bring Governor Morris, George Clooney's character, into the film. In the stage version it was purely behind the scenes, you never saw the governor.MARTIN: How did that decision come about, to elevate the governor - the presidential candidate - into a main character in the film?WILLIMON: Mostly because movie time works - it operates so fast. On stage, you can have a 20-minute scene and it feels like it goes by in a heartbeat. And on film, you rarely see those sort of 20-minute scenes and it's not as much about the talking, it's about the doing. So when we brought the governor in, and we knew George is going to play him, we thought, well, what can we do to really amp up the stakes and to really get the story moving along at warp speed and truly make it life or death?And we arrived at the choices we made. I don't want to go into great detail about it because...MARTIN: Sure.(SOUNDBITE OF LAUGHTER)WILLIMON: ...I don't want a ruin it for anyone who hasn't seen it yet. But certainly, the stakes get very high.MARTIN: Was there any dialogue that you had written for the play, that you were in love with, that just didn't make it into the movie?WILLIMON: My favorite parts of the play are these monologues that the characters, Tom Duffy and Paul Zara, get to give. You know, one on loyalty, the other on the purgatory that political operatives end up at in the end of their career and political gamesmanship.MARTIN: You're talking about Paul Zara, Tom Duffy. Those are the campaign managers in your play. And in the film, they're working for competing campaigns.WILLIMON: Those were probably my two favorite parts of the play. And both of those remained almost entirely intact.MARTIN: Was your personal writing process any different when you sat down to write the play, as opposed to when you wrote the screenplay?WILLIMON: It was very different. When I wrote the play it was about six months after having finished my work on the Dean campaign, and I hadn't written anything for a while...MARTIN: You worked for Howard Dean...WILLIMON: That's right.MARTIN: ...when he was running for president.

Grant Heslov & George Clooney
are also nominated in the Best Adapted
Screenplay categoy.

WILLIMON: I hadn't written anything for a while, so I was really itching to write something and politics was on the brain. Usually when I write a play, I put months of thought into who are the characters I want to focus on? What are their stories? But when it came to the movie you're looking at, you know, a lot more characters and a lot more scenes. And you really have to plot out things I think in a lot more detail in terms of your outlines, just so you don't shoot yourself in the foot writing yourself into a corner you can't get out of later on.And so, yeah, very different processes but I knew these characters. I knew the core of the story and that gave me something to hold onto so I didn't feel lost at sea.MARTIN: Beau, thank you so much for talking with us. We really appreciate itWILLIMON: Thank you so much, Rachel.MARTIN: That's Oscar nominated screenwriter Beau Willimon, speaking with us from Venice, California. Willimon, Grant Heslov, and George Clooney are up for an Oscar for Best Adapted Screenplay for the film "The Ides of March."

I seriously can't wait for These Foolish Things by Deborah Moggach to be re-released as The Best Exotic Marigold Hotel. In case you haven't heard, they are reprinting it to coincide with the release of the film version The Best Exotic Marigold Hotel starring the amazing Judy Dench, mahvelous Maggie Smith, Tom Wilkerson, Bill Nighy as well as the youngster in the group, Dev Patel. Here in the states, the last I heard it won't be released until May 4th but I understand that it's coming out this week, on February 24th in the UK? If it does, PLEASE let me know what you think of it!I've pre-ordered a copy from Barnes and Noble to read on my Nook so I can start as soon as its available, and before I see the movie, obviously. For more on The Best Exotic Marigold Hotel check out my posts: Do you know the original title?In the meantime I thought I would try something else by Deborah Moggach, Tulip Fever, which was optioned years and years ago by Steven Spielberg. I've just started it and I've also found some recent info which just MAY indicate the movie will be made after all! Take a gander at this article in The Independent.

In the film, which is based on Moggach's novel These Foolish Things, the character Mrs Ainsley (Penelope Wilton) is seen reading a copy of Tulip Fever. Is this a sign, just like at the end of Notting Hill (1999), when Hugh Grant sits reading Captain Corelli's Mandolin – that book became the Notting Hill team's next movie in 2001?

Could a film of Deborah Moggach's 1999 best-seller Tulip Fever at last be just around the corner? Eagle-eyed fans of the author believe that they have spotted a clue, at advance screenings of The Best Exotic Marigold Hotel, the new film of another Moggach novel, starring Judi Dench, Maggie Smith, Bill Nighy and Dev Patel, which is due to be released in the UK in February.Although she is an immensely successful novelist and screenwriter, Moggach would be forgiven for having reservations about adapting Tulip Fever for the screen – again. In 2007, she revealed at the Hay Festival what happened when Steven Spielberg optioned the film of the book.First, the director summoned her to Hollywood, where he discussed the novel's "Danish" setting. (Tulip Fever is set in 17th-century Amsterdam, as any fool could guess.) Then "he said, 'I think it's a comedy about poverty', which it isn't but everyone just agreed". While working on the screenplay, Moggach was constantly badgered to "bring out the comedy" in the rather sad story; then she was replaced as screenwriter by Christopher Hampton (Atonement), who was in turn replaced by Tom Stoppard. Then, in 2004, the then Prime Minister Gordon Brown closed a tax loophole that had encouraged Hollywood filmmakers to work in Britain, and Spielberg's team pulled out, writing off £35m – and 12,000 tulip bulbs had to be given away.The last anyone heard, the film was still in development by a San Francisco-based outfit, Ruby Films, using the Stoppard screenplay and under the directorship of Peter Chelsom (Shall We Dance?). There is no news about the film at the moment, but I'm told that "the producer Alison Owen is determined to make it happen one day."Tulip Fever seems made for the screen, and if The Best Exotic Marigold Hotel is the success that it should be, perhaps it will be revived. However, if the Fox Searchlight Pictures team has copied the end-of-Notting-Hill tease, let's hope that they will not also be imitating the values that went into the making of the film of Captain Corelli's Mandolin. When its author, Louis de Bernieres, was asked how he felt about the film of Corelli, his most famous novel, he replied: "It would be impossible to be happy about your own baby having its ears put on backwards." Poor Deborah Moggach has had enough bad luck with the filming of this book; please someone just turn it into a nice film.

I am counting down the days until this Sunday's Academy Awards. My brother, who works for the Academy, is taking me as his guest. Instead of just obsessing about the stars and whether I will actually see George Clooney or Brad Pitt face to face, I've decided try to memorize the faces of the screenwriters nominated for best adaptation. If I see them at the bar I may have the courage to congratulate them vs blubbering or fainting on the spot which would be my reaction if I were to encounter George Clooney. This is John Logan. He's nominated for his adaptation of Brian Selznick's Hugo and as I've been doing for the past few days with the nominees, I want to dig a little deeper into who this man is. A Northwestern graduate, Logan has been nominated previously for Gladiator and The Aviator, another Martin Scorsese collaboration. He has three projects out on film this year, Hugo, Corialanus as well as the nominated animated film, Rango. He also wrote the 2010 Tony winning play, Red. He is still tweaking Skyfall, the next James Bond movie which is currently in production AND AND AND he is working on a screenplay adaptation of Jersey Boys which has got to be a major blast and will certainly get a lot of people jumping for joy.

He's also written a book Hugo: The Shooting Script
Melena Ryzik took a look at both writing categories in The Carpetbagger section of The New York Times earlier this month. I've excerpted her excellent article below.

If you can't be bothered to read the excerpt, promise me you will at least listen to this radio broadcast of an interview John Logan did for KPCC. GIVE THIS A LISTEN!

From the NY Times

"John Logan was already three years into adapting the complicated screenplay for “Hugo” when he learned that Martin Scorsese wanted the film to be in 3-D. “I was in the deep end of the pool with just my nose out of the water, when Marty and Graham King” — one of the producers — “came and pushed me completely under,” Mr. Logan said.

Mr. Logan, a Tony-winning playwright turned screenwriter whose credits include Oliver Stone’s “Any Given Sunday” and Mr. Scorsese’s “Aviator,” set about reworking the story, based on Brian Selznick’s children’s book about an orphaned boy (Hugo, played by Asa Butterfield) who lives in a train station.

“I was looking for opportunities to make that a very physically active journey,” Mr. Logan said. So he had Hugo traverse the station’s innards; scenes with dogs were also added, a Doberman and a dachshund, “long dogs that looked good” in 3-D.

Even with much prep and the involvement of veterans like the production designer Dante Ferretti, the movie was a challenge to produce: Mr. Scorsese’s first foray into 3-D and HD filmmaking, and his first time working at length with children and animals, meant lots of on-set changes. An electrifying 3-D moment when a train crashes through the station was added late in the process.

“When we decided to put that in, I had to find a way to justify it, to justify the train crash, and so we came up with a dream-within-the-dream” sequence, Mr. Logan said, adding, “I felt like Stephen Sondheim writing ‘Send in the Clowns’ overnight.”

All told, Mr. Logan said “Hugo” was far and away the hardest movie he had ever worked on, and that includes his Sondheim adaptation. “It makes ‘Sweeney Todd’ look like ‘My Dinner With André,’ ” he said.

He was rewarded with an Oscar nomination for adapted screenplay, his third nomination, and one of 11 for the movie. (He had also been nominated for his original screenplays for “Gladiator” and “The Aviator.”) Mr. Logan is one of the few veterans in the screenplay categories this year; many of the other hopefuls are first-time screenwriters.

On Oscar night, Feb. 26, after picks by groups like the Screen Actors Guild, the Directors Guild and others will have made the rest of the Oscar race easier to predict, the writing categories may remain a toss-up. Will voters in the Academy of Motion Picture Arts and Sciences skew to Hollywood favorites, like Woody Allen, who received his 15th screenplay nomination for “Midnight in Paris,” or Aaron Sorkin and Steven Zaillian, previous winners who adapted the famously difficult-to-wrangle “Moneyball”?

Or will they reward unorthodox original-screenplay nominees like Asghar Farhadi, the writer-director of the Iranian family drama “A Separation,” or J. C. Chandor, for the financial thriller “Margin Call”? The writing Oscars often hold surprises. "

I wrote a paper on Marilyn Monroe way back when I was in Mrs. Rollins' tenth grade English class at dear old Samohi. That must have been in 1969, just 7 years after her death at the age of 36. I remember checking out books from the tiny Ocean Park branch library on Main Street, as well as periodicals from the Santa Monica Public Library and laboriously writing notes by hand on index cards. No computers. I didn't even have a typewriter back then!
I remember being fascinated with her affairs, with her death, with the theory that the overdose was staged as a coverup for murder.
That was the end of Marilyns' very short life. My Week with Marilyn takes place about five years earlier, when she was at the height of her fame, during the making The Prince and the Showgirl with Sir Laurence Olivier. She was newly married to the iconic American writer, Arthur Miller, who joined her on the shoot in England, in lieu of a honeymoon. Colin Clark, the Third Assistant Director on the film, was smitten with the newly married sex symbol and wrote My Week with Marilyn reportedly based on his experiences with the actress when Miller left Monroe to visit his children in the states.

I adore Michelle Williams and she definitely has Marilyn's fragility down but she doesn't really channel Monroe. She doesn't really ooze Marilyn's sex appeal. No one does. Still she does a grand job of embodying Monroe's bombshell act - which Michelle Williams plays as a character choice --along with her monumental and conflicting self-doubt. As played in the film, Monroe's self esteem is so incredibly low, her understanding of her talent so tenuous, that she comes off far more irritating than titillating. But she turns on the charm for the young Colin, a mere 25 year old who she turns to for comfort.
Frankly I could do without Eddie Redmayne and his wierdly freckled duckbill lips as Colin Clark. He's a good five years older than Clark and there is such a difference between a young man freshly starting out in his midtwenties and a more settled and mature man of 30. Redmayne doesn't catch that difference. Redmayne's height doesn't help nor does his complete utter total absolute 100% lack of sex appeal. Am I being clear?
I think Kenneth Branagh should have been nominated for Best Supporting Actor - he is terrific as the controlling and frustrated Olivier. And wonderful Judi Dench was warm and authentic as always as the acclaimed British actresss, Dame Sybil Thorndyke. Little wonder that she was nominated for a BAFTA for Best Supporting Actress. The enabling behavior of Paula Strasberg was perfectly played by Zoe Wanamaker and all in the all the film was well done. I was hoping for spectacular but very very good's not bad!

While my little poll has Moneyball and The Descendants tied neck and neck in the Best Adapted Screenplay category, the Writers Guild has annointed Alexander Payne, Nat Faxon and Jim Rash the winners for The Descendants. Alexander Payne also won the USC Scripter award so perhaps the momentum for an Oscar win is with the beautiful film based on Kaui Hart Hemming's beautiful book! Honestly, I think all of this years' nominees are amazing screenplays and with the exception of Ides of March, they're based on remarkable books.
I've been focusing on the Best Adapted Screenplay nominees for the last couple of days and in the wake of the WGA win, I think it's time to dig a little into The Descendants. I found this piece by Tim Molloy at The Wrap, about improv performer, actor and writer Jim Rash really really interesting. Rash and his partner Nat Faxon are both actors as well as writers, and I think their other work must contribute to their excellence as writers. Success lies not just in the that old formula 'Write. Write. Write.' but to do other things as well. Life, family, friends, it's all grist for the mill.

"There's no question about Jim Rash's writing skills: The "Community" actor is nominated for an Oscar for adapting "The Descendants" with writing partner Nat Faxon and director Alexander Payne.

"Rash, who has also spent 12 years doing sketch and improv with The Groundlings, says character is what unifies all of his work – from short skits to "epic," homage-filled episodes of "Community," to the wrenching family struggle of "The Descendants."

"I like pulling from things I know, as does Nat," he said of Faxon, who like Rash acts as well as writes. "Like everybody, we have fantastic family members to use and skewer, which we have. In a loving way."Payne asked Rash and Faxon to adapt Kaui Hart Hemmings' novel, "The Descendants," after they made the Black List of great, unproduced scripts for writing "The Way Back." The screenplay balanced comedy and drama much as "The Descendants" does.Payne then took his own pass on their adaptation. In addition to the trio's nomination for best adapted screenplay, the film is also nominated for best picture and three other Oscars, including a director nomination for Payne.

Rash talked to us about how improv and sketch made him a better writer, how he divides writing with Faxon, and what he wants for his high-strung, never-satisfied "Community" character, Dean Felton.﻿﻿ TheWrap: The most memorable part of "The Descendants" for me is Matt King (George Clooney) and his daughter (Shailene Woodley) venting at his wife while she's comatose. Where did that idea originate?
Rash: The scene where Clooney yells at her is not in the novel. That would be a touch of the finesse of Mr. Alexander Payne. He liked that idea of him yelling at her, because he was obviously so angry. The older daughter did say sort of crass things to her mother in the novel… so that anger is more evidenced in the novel from the daughters, not so much from Matt. He's more spinning in the book as far as trying to control them. But it felt good to have him have a release as well.Your improv work at The Groundlings seems like a nice midpoint between writing and acting: You're writing it on your feet, and performing as you write.Yes. Improv has been immensely beneficial to me as both an actor and a writer. On the acting side of things, a lot of shows now have embraced improv, starting with "Curb Your Enthusism" and "Reno 911" and all these things where we're really being in the moment. And then for writing, I feel like it's almost as simple as the idea of making new choices and trying different things.You've said you enjoy working on structure more than Nat does. Is that rooted in improv? The reason successful improv is possible is because you're following so many improv rules, from establishing your relationship to the other people on stage, to saying yes to their ideas, to heightening.The rules are so universal. And it's sort of like you break them down and then it's like forgetting them, and it comes second nature. It's sort of just not doing things that for the most part will stop a scene cold. But I think being open to where they go keeps it a little less structural. It's being open to whatever happens.What else did you learn from sketch and improv?A sketch is just a mini movie. It's almost more challenging in 3 to 5 pages to get a beginning, middle and end. Even though the sketch might be broad, it's still character based.Character-based training, albeit sketch, is still about tapping into what's real for you. Tapping into your family and friends and people you know really well, to be specific.How do you and Nat divide up the writing?We definitely rewrite in the same room, for sure. We might have days where I'll take off and hibernate in some coffee house… sometimes I'll take off and try to get a first pass off. I'm definitely a writer and rewriter at the same time. I'm not a just-crank-it-out-and-not-worry-about-it-and-come-back-and-fix-it-later writer.I think our best work is when we have a little skeleton on the page. We break the story together. Both Nat and I have been pursuing acting at times as well. So there were times when he was shooting a movie for a month and then I would do "Community."When and where – aside from coffeehouses – do you write?Sometimes we write at the office and sometimes we write at my house. I prefer the morning as far as keeping office hours but if I'm feeling good about it we'll try to do a long crank day.It's always sort of nice when you know you have a deadline. I think we're good in like little three-hour intervals. I like the idea of working a little bit and then going to do something remedial, like an errand. But then there are those days when nothing happens and it's horrible.

[Laughs] And you sit and get snippy with each other and you check your email too much and say 'I have to go.'"Community" is known for wild episodes, from the one set in a space simulator to the ones based around paintball battles. [Editor's note: It was pulled from NBC's schedule amid low ratings, though it's due back this season.] Given its ratings challenges, do you ever worry about the scripts being too weird?No. You read them and you go, oh my gosh. Certainly things can get a little dark. But as strange as those things might be, a show always comes down to its characters. Your fondness of remembering "Cheers" is because you fell in love with those people.Yeah, sure, we have ones in space. But you realize this show is not just giving you epics. It's also giving you a lot of characters and who these people are. At its core it's doing what all shows do, which is introduce you to characters, show what they're going through, build on them, and evolve them in such a way that you grow fond of them.Is there anything you'd like to see for Dean Felton?I would love to see his home life. And I would love to see him win at some point.What do you think unifies your work on "Community" and "The Descendants"?My acting has always been in the world of comedy, but in my writing, other than writing sketches, I really am drawn to the balance between comedy and drama. I like things that sort of toe that line of one minute you're in this emotional space and then all of the sudden something happens.It's like when you're at a funeral or something that's been a very emotional plight for your family, and you're in this house grieving, but there's always this levity that takes you to a different place, because you need it. I just find human behavior very interesting to write about. I just find it very interesting to tap into people's flaws.They're not having their best moment. And then we look back on it and think what the fuck was that? And we laugh.I feel like that's what "Community" does. Dan and those writers know how to tap into this wonderful moment where they change the emotion. … That is very appealing to me. I love looking back on things that were hard and horrible. I think that helps in your comedy.What experiences like that have you drawn on?Divorce, I dealt with that, I dealt with a couple of stepfathers. My sister and I were both adopted and there were things that [Nat and I have] used there.High school was also a wealth of stuff, but that's pretty universal."

While Dystopian fiction is never going to be my first choice of reading material, The Hunger Games really snuck up on me. I borrowed a copy from a friend who had three teenage daughters, all of whom had read it long ago and were waiting for the paperback edition of the third book of the series to come out.
Series is the key word; I didn't realize that being the first book in a series meant the ending would be, well, not exactly the end!
That's probably my only complaint, the unsated curiousity about what comes next, my disappointment in Collins for leavin' me hangin'. That being said, the book was a wonderful surprise!
As most people reading this blog probably already know ....
The former United States, now Panem, has been divided into 12 districts, each of which sends one boy and one girl to fight to the last person standing every year in the annual Hunger Games. This is all presumably so the Capitol can keep its people in line.
The story is told from Katniss pov. She's a somewhat embittered 16year old who hunts with her friend Gale to keep herself, her mother and young sister, Prim, fed. Her archery and survival skills come in handy when in a noble act of self-sacrifice she takes her sister's place as District 12's female 'tribute' and travels to the Capitol for to take part in the televised Hunger Games.
Peeta, the baker's son, is District 12's male 'tribute', a boy who has been kind to her in the past. But in the games he is her enemy too. Or is he?
I got a real kick out of the pair's arrival in the Capitol and the wonderful futuristic inventions. Who wouldn't want the ability to think of what you'd like to eat, and miraculously, it whooshes its way to you in mere moments. That's got to be better than Katniss usual existence of eating bark and squirrels!
And the description of the costumes she and Peeta wear for the contestant parade and the interviews are spectacular. I am curious to see how the costume designer and special effects people have teamed up to make those work!
Shepherding Katniss and Peeta through the process are the very p.c. and silly Effie Trinket and the pair's drunk mentor, Haymitch. In the movie they are played by Elizabeth Banks and Woody Harreslson. Lenny Kravitz is Cinna - Katniss super cool stylist!
When they get into the arena, the tone changes as the battle begins immediately and the bodies start to pile up. Cinematically I think it's going to be a very suspense-filled, terrifying and pulsing with emotion. Some of the other tributes are cut-throat and blood-thirsty, others seem to have a more developed moral compass. Short-lived but important friendships are formed like the one Katniss forms with Rue, who reminds Katniss of her sister, Prim. Each night the contestants see who has died when their images are projected in the sky. The only trouble with that is since Collins has us seeing through Katniss' eyes only, we're not privvy to the other entanglements so we're not really emotionally invested either.
A big part of the books question is where the heroine's heart lies and it looks like Collins has set up a Team Gale vs Team Peeta equation. Gale is faster, and stronger. He's a great friend but a bit younger than Katniss. Too young? But Peeta is handsome, brave, selfless and incredibly romantic. Who to choose? Who to choose? Who to choose?
It's great to see Katniss, the girl, be the strong one who looks after the guy rather than the other way around. What a marvelous role model for girls. That being said, with cutey pies Liam Hemsworth as Gale and Josh Hutcherson as Peeta, Jennifer Lawrence's Katniss would seem to have it made any way you look at it. If she can survive the games of course.
I would think this book would be too violent for grade school readers - and certainly the film will - but teens - especially teenage girls - and up should find it action packed and romantic.
I know I did and I will almost certainly read book two so I can satisfy my curiosity. Between you and me, I hope my guy wins. :)

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